Showing posts with label editing. Show all posts
Showing posts with label editing. Show all posts

Friday, July 11, 2014

Editor Interview with Chris Guthrie

Chris Guthrie is an editor, writer, and publisher with more than eight years of professional experience. He founded Open Book Editors five years ago and has since helped hundreds of writers reach their publication goals. As Editor-in-Chief at Open Book Editors, Chris provides editing services for all genres and writer objectives. However, he is most passionate about helping first-time fiction writers get across the finish line. His most recent fiction has appeared in Amarillo Bay, Crazyhorse, Washington Square Review, Fiction Magazine, and Litro. His novel, The Shack Cartel, is due out later this year. Chris lives in Newport News, Virginia with his wife Beth and children, Ava and Dylan.

What book are you most proud of having edited?

One of the books that I’m proudest of having edited is a memoir called Feels Like the First Time, by Shawn Inmon. Shawn was an unpublished real estate agent with a passion for the language and a story to tell when I met him just three years ago. Since that time he’s sold well over 20,000 books, based on a few good stories and relentless energy for every aspect of publishing. I’m proud of the role that Open Book Editors played in getting him there. Writers like Shawn provide a great example to unpublished writers who are passionate about the language and have specific goals for their work.

What is the best book you’ve read/edited this year?

The best book I’ve edited this year is called A Danger to God Himself by John Draper. It should be out later this year. John is a fantastic writer who has crafted a unique voice and has a gift for combining highly realistic characters with highly improbable contexts. It’s truly a great read from a first-time author.

Are your rates affordable for indie authors?

We do everything we can to make our rates affordable for indie authors, including offering a 15% discount for new and emerging authors. While we edit every genre and work with authors who boast a wide range of writing experience, we’re especially passionate about working with writers who are dedicated to getting their first novel across the finish line.

What are some of the typical mistakes you see writers make?


One of the most common mistakes that writers make is failing to see the reader’s perspective when they are writing. This is a mistake that even the most seasoned writers can make, because it’s hard to consider what a reader might think while focusing on individual sentences and paragraphs – the real nuts and bolts of a manuscript. One of the best adjustments most writers can make is learning to think like a reader during the writing process.

What are some things you think writers should look for/be wary of when hiring an editor?

It’s important to find an editor who will edit a sample for free. This is critical for establishing expectations between a writer and an editor and seeing what the text will look like once it’s been edited. Professional editing is extremely thorough and generally geared toward making every single word count. It is vastly different from editing that has been done by a conscientious friend with an eye for detail. Writers should also look for editors who have a track record of helping writers get published or who have been recommended by other authors. It’s important to go the extra mile to learn about the editor – including phone calls and a little online investigative work – before making a decision.

What should a writer expect (or not expect) out of an editor?

Above all else, a writer should expect to evolve and grow as a writer. Professional editing should transform the writer, in part by seeing how a professional tackles the same challenges that the writer has been facing in the course of creating the manuscript. The writer’s manuscript should be polished, clean, and more marketable as a result of professional editing. But more importantly, the act of having a book edited is an important part of the evolution of passionate writers, especially as they absorb the changes that an editor makes and begin to discern patterns in the edited text. An editor should also become the writer’s partner, which is critical for aligning an authorial vision with an editorial vision. These are key steps in creating a polished, marketable manuscript.

Do you have any advice for new writers?


There are entire sections of bookstores dedicated just to giving advice to writers – way too much advice out there. The single best piece of advice I know of is to read, read, and read some more. Re-read your favorite authors and really think about why they’re your favorites. Absorb what they do great and don’t be afraid to be a little derivative. Make your art a departure from the greatness of other writers. And don’t be afraid to suck at writing for a while (especially in comparison to your favorite writers). The best writers embrace failure and use it to guide them toward success.

What is the difference between developmental, substantive and copy editing?

Our developmental editing package provides a comprehensive report that includes suggestions and recommendations regarding narrative structure, character development, tone, voice, dialogue, style, and other key elements of a manuscript, in addition to basic copy editing. It provides very thorough professional guidance based on years of industry experience designed to get the writer over the finish line. Copy editing provides polished, lean, and error-free text. In both cases, the end result strips away the fat to get the exciting elements of the manuscript popping off the page.


Tuesday, April 8, 2014

Seeking Editors to Interview

Phantom Owl is currently seeking editors interested in being interviewed. If you are an editor interested in talking about your craft and possibly gaining a few new clients, please pick 8-10 of the following questions to answer. E-mail your answers to PhantomOwlPress@gmail.com with a short bio, photo, and links to any social networking sites you'd like to include. We may respond with follow up questions and will let you know when your interview will be posted on the Phantom Owl Blog.


Questions:

What type of stories do you most enjoy editing?

What other books have you edited?

Do you work for a company or are you a freelance editor?

What book are you most proud of having edited?

What is the best book you’ve read/edited this year?

What does your editing process look like from start to finish?

Are your rates affordable for indie authors?

How do you decide your pricing?

What do you charge?

What are some of the typical mistakes you see writers make?

What are some things you think writers should look for/be wary of when hiring an editor?

What things should a writer have done before contacting an editor?

What should a writer expect (or not expect) out of an editor?

Do you have any advice for new writers?

What is the difference between developmental, substantive and copy editing?

What do you think makes a good editor?

What style guide do you use, and why?

How do you feel about serial commas, and why?

What annoys you most about the current publishing industry?

When you’re not editing what do you like to do?



Again, please pick 8-10 of the questions above and e-mail us at PhantomOwlPress@gmail.com


Sincerely the Phantom Owl team.

Friday, March 21, 2014

Comments on Wordy Writing from Lauryn April


Wordy Writing:

Since 2012 I’ve self-published two books, Into the Deep, and its sequel Hidden Beneath, both young adult paranormal romances. There are a number of things I learned after I finished Into the Deep. But now, as I get ready to publish my third book, I find my writing is worlds apart from where it was in 2012. In March, I will publish my third book, A Different Kind, through Phantom Owl Press. 

I’ve gained skills in marketing, cover design, as well as overall understanding of the publishing process. However, I think the place where I’ve most improved has been my writing itself. Creating stories has always come easy to me. I’d like to think the stories I’ve created over the years have been good ones, if not great ones. But, my ability to tell those stories has greatly improved.

The biggest lesson I’ve learned from self-publishing is how to remove wordy writing.

It’s hard to read through your novel and “cut the fat”. But, while it may hurt to pull out the red pen, it’s absolutely necessary. Recently I made a post on my blog, Words to Search and Destroy in your Manuscript, where I talk about specific words that when used often lead to wordy writing. In general, wordiness comes from using any words that you don’t absolutely need.

One word that isn’t on my “Search and Destroy” list is the word “that”. This word in particular is one that I’ve been aggressively removing from my next novel.

Tips to Removing Wordy Writing
1.       Take a break between finishing your novel and starting your revisions. Getting a little distance from your writing will help you see where you have problems.
2.       Pay special attention to areas that you had trouble writing. I find my writing gets wordier in the areas I apply the “butt in chair” method to. In other words, the parts I push through just to keep writing are often the wordier parts of my novel.
3.       Avoid passive writing. This is something you should be doing anyway, but I find passive writing tends to be wordier than active writing.

Here’s an example from my second book Hidden Beneath

This is the original passage from 2013.

“I loved you more than anything.” His voice was firm and unwavering.

I looked away from him as his words hit me with the weight of a wrecking ball, but he reached out and palmed my face, turning me back to him. His eyes locked on mine.

“I loved you,” he said again, and I felt the tears stream down my face. “Dammit, Ivy, I still love you.” 

The next thing I knew his lips were smashed against mine in a hard, bruising kiss. Tears were spilling from my crushed-shut eyelids, and I was kissing him back. His hand, which previously had been palming my face, was now tightly grasping my hair, and his other hand had a rough grip on my arm. It felt like I had been waiting a thousand years for that kiss, and in that moment not even the need to breathe could have pulled us apart. My hands were around Brant’s neck, and I tugged at his hair. My body was arching to reach his. I forgot about getting hurt - all I wanted was to feel him again.

This is what I would do now.

“I loved you more than anything.” His voice was firm, and unwavering.

I looked away from him as his words hit me with the weight of a wrecking ball. but He reached out, and palmed my face, and turned turning me back to him. His eyes locked on mine.

“I loved you,” he said again, and I felt the tears stream down my face. “Dammit, Ivy, I still love you.”

The next thing I knew His lips were smashed against mine in a hard, bruising kiss. Tears were spilling spilled from my crushed-shut eyelids, and I was kissing him back. His hand, which previously had been palming my face, was now One hand tightly grasping my hair, and his the other hand had a rough grip on my arm. It felt like I had I’d been waiting a thousand years for that kiss, and In that moment not even the need to breathe could have pulled us apart. My hands were twisted around Brant’s neck, and I tugged at his hair. My body was arching arched to reach his. I forgot about getting hurt - all I wanted was to feel him again.

I hope everyone found this post helpful. I think it’s important as writers to know that there’s always room to grow. Wordiness is something a lot of readers will overlook, but being able to catch it as a writer will lead to a stronger story.

Follow me on my blog, on twitter @LaurynApril, and check out my next novel, A Different Kind on Goodreads.